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https://archive.org/details/vandyckportraiteOOhind 


VAN  DYCK 

THE  art  of  portrait  undoubtedly  reached  its  zenith  in  the 
seventeenth  century.  Even  the  splendour  of  the  North 
Italians  in  the  sixteenth  century  cannot  rival  a  period  which 
boasts  of  Velazquez,  Rubens,  Van  Dyck  and  Rembrandt. 
And  in  respect  of  human  characterisation,  which  must  be  the  final 
criterion  of  good  portraiture,  the  artists  of  the  Netherlands  went  far 
beyond  the  more  decorative  ideals  of  the  Italians. 

Rubens  and  Velazquez  produced  no  engraved  or  etched  portraits, 
unless  we  accept  as  by  Velazquez  a  rare  etching  of  the  Duke  of 
Olivarez  in  Berlin,  which  is  far  more  probably  by  the  hand  of 
Ottavio  Leoni  (xxxvm),  and  placed  for  comparison  next  to  Leoni’s 
portrait  of  himself  in  our  plates.  Van  Dyck  and  Rembrandt  are, 
without  qualification,  the  two  greatest  painters  who  have  also  pro¬ 
duced  original  portraits  in  etching.  There  can  be  little  question  about 
Rembrandt’s  greater  genius  and  personality,  but  in  spite  of  that 
admission  I  would  claim  for  Van  Dyck  an  even  more  remarkable 
position  than  Rembrandt  as  the  etcher  of  portraits  par  excellence. 
Rembrandt’s  portraits  form  only  a  small  part  of  his  complete  etched 
work,  which  will  be  fully  illustrated  in  another  volume  of  this  series. 
We  limit  ourselves  here  on  that  account  to  giving  one  of  his  most 
characteristic  plates,  that  of  Jan  Sylvius  (xxiv),  merely  as  a  basis  for 
comparision  with  Van  Dyck,  whose  etched  work  is  reproduced  in  full 
in  the  present  volume.  The  difference  of  their  style  will  be  at  once 
evident.  Rembrandt  in  this  example  and  in  the  majority  of  his  later 
portraits  uses  a  close  mesh  of  fine  lines,  by  which  he  renders  the 
subtlest  varieties  of  chiaroscuro.  Even  the  secondary  parts  of  his 
subject  are  often  finished  in  the  same  detail,  and  the  tendency  is  in 
general  entirely  analogous  to  his  portrait  painting,  a  concentration 
on  the  face  by  means  of  dark  shadow  in  the  other  parts.  But  except 
where  this  concentration  is  absolutely  obtained,  as  in  the  portrait  of 
the  Young  Haaring,  Rembrandt  tends  to  express  human  character  in 
its  complexity,  rather  than  to  emphasise  some  central  feature.  Van 
Dyck  is,  perhaps,  the  more  immediately  convincing  portrait  etcher, 
for  the  very  directness  of  his  method  of  presentation.  One  feels  far 
less  subtlety  and  less  depth  in  his  expression  of  character  ;  but  he 
always  gives  the  impression  of  having  caught  the  outstanding  feature 
of  his  subject.  Moreover,  considered  as  etching,  his  style  is  purer 
than  Rembrandt’s.  The  open  lineal  method  that  he  uses  seems  to  me 
a  far  safer  standard  for  etching  than  the  more  painter-like  manner  of 
Rembrandt.  His  concentration  is  obtained  by  the  positive  method 

5 


GREAT  ENGRAVERS 

of  putting  most  detail  and  shadow  in  the  face  (but  even  here  never 
more  than  suggesting  by  open  line  and  bold  dotted  work  what  a 
painter  would  elaborate  by  surface  tone  or  chiaroscuro),  and  its 
intensity  is  greatly  enhanced  by  the  omission  of  all  but  the  most 
essential  factors  in  the  figure  and  its  setting.  Rembrandt’s  early 
portrait  work  was  nearer  to  Van  Dyck’s  manner,  but  later  in  life  it  is 
only  in  an  occasional  example,  such  as  the  Clement  de  Jonghe ,  that  he 
recurs  to  the  same  open  style. 

Van  Dyck’s  original  etchings  formed  part  of  his  comprehensive 
project  for  a  series  of  engraved  portraits  of  the  famous  men  of  his 
time,  which  is  generally  called  the  Iconography.  The  collection  does 
not  appear  to  have  been  issued  as  a  corpus  until  the  edition  of  Gillis 
Hendricx  in  1645,  with  the  title  leones  Principum  Virorum  Doctorum 
Pictorum  Chaleo grapho rum  Statuariorum  nee  non  amatorum  pictoriae  artis 
numero  centum  ah  Antonio  van  Dyck  pictore  ad  vivum  expressae  e'tusque 
sumptibus  aeri  incisae.  Antverpiae.  Gillis  Hendricx  excudit.  Anno 
1645.  The  “hundred”  plates  included  fifteen  of  the  original 
etchings  (i.e.  all  but  Cornells  sen,  Driest ,  and  JVaverius ),  eighty  plates 
engraved  under  Van  Dyck’s  supervision  (the  Iconography  proper), 
and  five  newly  engraved  plates  after  Van  Dyck.  Considerable 
additions  were  made  in  later  issues,  as  many  as  124  plates  appearing 
in  Verdussen’s  edition  of  the  early  eighteenth  century. 

It  may  have  been  Van  Dyck’s  original  intention  to  etch  all  the 
portraits,  completing  the  faces  and  leaving  the  rest  in  broad  outline  to 
be  elaborated  in  line-engraving  by  his  assistants  in  the  work,  of  whom 
Lucas  Vorsterman,  Paul  Pontius,  Boetius  and  Schelte  a  Bolswert, 
and  Pieter  de  Jode,  the  younger,  are  the  most  distinguished.  But 
except  for  the  eighteen  etchings  Van  Dyck  merely  supplied  his 
engravers  with  studies  in  chalk,  such  as  that  of  Pieter  Brueghel 
(reproduced  on  plate  11),  which  he  used  for  his  own  etching.  Most 
of  the  grisailles  of  the  same  portraits  (of  which  there  is  a  considerable 
number  in  the  Alte  Pinakothek,  Munich)  seem  to  have  been  the 
studies  made  by  the  engravers  after  the  master’s  sketches  to  serve  as 
the  immediate  originals  for  the  prints. 

A  comparison  of  the  later  state  of  the  Frans  Snyders,  as  engraved  by 
Jacob  Neefs,  with  Van  Dyck’s  preliminary  etching,  makes  one  regret 
that  any  of  his  etchings  were  subject  to  this  elaboration,  which 
detracts  so  much  from  the  force  and  concentration  of  the  portrait. 
Happily  five  of  Van  Dyck’s  etchings  ( Pieter  Brueghel ,  the  younger , 
Erasmus ,  J.  de  Momper ,  J.  Snellinx ,  J.  Sustermans )  entirely  escaped 
the  engraver’s  hand,  while  six  more  (Jan  Brueghel ,  Frans  Franc  ken, 
6 


VAN  DYCK 

A.  van  Noort ,  P.  Pontius,  Lucas  Vorsterman ,  J.  B.  de  JVael')  remained 
unelaborated  except  for  an  engraved  background  which  was  added 
for  the  edition  of  Gillis  Hendricx.  Seven  alone  were  elaborated 
throughout  with  the  graver.  We  reproduce  the  early  etched  state  of 
one  of  these  ( TVaverius ,  xix),  touched  by  Van  Dyck  as  a  guide  to 
the  engraver  in  his  elaboration.  The  remaining  four  heads  [Pan 
Dyck ,  Snyders ,  P.  de  Vos ,  and  IV.  de  Vos)  were  not  finished  till 
Hendricx’s  edition,  the  portrait  of  Van  Dyck  being  used  for  the  title. 
The  portrait  of  Philippe ,  Baron  Le  Roy ,  does  not  seem  to  have  ever 
been  issued  as  part  of  the  Iconography.  To  complete  the  illustration 
of  Van  Dyck’s  etched  work  we  have  not  only  included  the  plate  after 
Titian  (xxi),  but  the  Reed  offered  to  Christ  (xx),  which  has  this 
excuse  for  being  included  in  a  volume  devoted  to  portrait. 

For  the  sake  of  collectors  a  short  reference  to  the  principal  states 
in  which  nearly  all  the  Van  Dyck  etchings  occur  will  be  of  interest. 
In  the  first  place  there  is  the  state  before  all  lettering,  with  or 
without  Van  Dyck’s  inscription  in  pen-and-ink.  The  prints  in  this 
state,  like  the  majority  of  those  reproduced,  are  extremely  valuable, 
being  worth  from  £60  upwards.  Then  there  is  the  state  with  Van 
Dyck’s  name  etched  on  the  plate,  generally  in  company  with  the 
name  of  the  printer,  Martin  van  den  Enden,*  which  is  also  of  very 
considerable  value  (see  xiv).  Afterwards  the  plates  as  they  appeared 
in  the  edition  of  Gillis  Hendricx  1645,  bearing  the  publisher’s 
initials  G.H.  (e.g.  see  xn),  which  generally  fetch  about  ^3  o  £  10, 
and  finally  the  later  impressions  after  t  e  erasure  of  G.  id.  Some¬ 
times  even  after  this  erasure  the  etching  is  still  printing  clearly,  but  as 
impressions  are  fairly  common  they  can  generally  be  secured  for 
about  £1. 

Of  course,  impressions  taken  after  the  seventeenth  century  are  of  no 
account,  and  some  issues  have  been  made  even  during  the  nineteenth 
century  by  the  Chalcographie  du  Louvre,  where  the  majority  of  the 
original  copper-plates  of  the  Iconography  are  still  preserved. 

Jan  Muller,  of  Amsterdam,  whose  work  is  illustrated  in  the  portrait 
of  the  Archduchess  Isabella  Clara  Eugenia  (xxvil  and  xxviii),  is 
a  somewhat  earlier  contemporary  of  the  engravers  who  took  part  in 
Van  Dyck’s  Iconography.  He  shows  the  same  virtuosity  and  bravour 
as  his  master  Hendrik  Goltzius,  and  his  few  large  portraits  after 

*  It  is  doubtful  whether  Martin  van  den  Enden  ever  published  a  corpus 
of  the  plates.  He  was  more  probably  merely  the  printer  Van  Dyck  used  in 
his  first  issue  of  the  separate  plates. 


7 


GREAT  ENGRAVERS 

Rubens  are  almost  the  most  brilliant  achievements  of  the  whole 
range  of  portrait  engraving.  We  give  an  unfinished  state  as  an 
example  of  the  regular  methods  of  the  line-engraver.  The  main 
outlines  are  scratched  on  the  plate  with  the  dry-point  (i.e.  a  stout 
piece  of  steel  with  sharpened  point  used  like  a  pencil  on  the  plate), 
and  the  first  illustration  given  is  a  proof  from  the  plate  in  this  state, 
pulled  by  the  engraver  as  some  guide  to  himself  in  the  progress  of  his 
work.  The  second  of  the  two  illustrations  shows  the  work  as 
elaborated  throughout  with  the  graver.  The  method  of  pushing  the 
graver  or  burin  before  the  hand  (cutting  the  furrows  like  a  plough), 
and  the  lack  of  freedom  in  its  use  when  compared  with  the  etching 
needle,  accounts  for  the  stern  conventional  manner  that  characterises 
all  line-engraving.  In  etching,  on  the  other  hand,  the  artist  has 
almost  the  same  freedom  as  if  he  were  using  the  pencil  or  pen.  The 
plate  is  covered  with  a  thin  ground  (or  coating  of  wax  composition), 
and  the  etcher  draws  his  lines  through  this  ground  with  a  needle, 
exposing  the  surface  of  the  plate  where  it  is  to  be  bitten  by  the  acid. 
The  resistance  to  the  needle  in  removing  the  ground  is  so  slight  that 
the  etcher’s  style  may  have  all  the  spontaneity  of  an  original  drawing. 

Of  the  Dutch  line-engravers,  Jonas  Suyderhoef  is  of  interest  from 
the  freedom  and  variety  of  his  style,  and  there  is  life  and  mobility  in 
his  handling  that  renders  him  one  of  the  best  interpreters  of  Frans 
Hals  {see  xxx).  Suyderhoef  and  his  contemporary,  Pieter  van 
Sompelen,  are  chiefly  responsible  for  a  series  of  large  engravings, 
remarkable  for  the  charming  individuality  of  their  figured  borders 
( e.g .  xxix).  Portraits  by  Jan  Lievens  and  Carel  de  Moor  are 
excellent  examples  of  the  free  manner  of  etching  inaugurated  by  Van 
Dyck,  each  treated  in  a  thoroughly  individual  style.  Carel  de  Moor 
takes  us  into  the  eighteenth  century,  and  considerably  before  his  time 
the  real  centre  of  gravity  of  engraved  portrait  had  shifted  from  the 
Netherlands  to  France. 

The  French  portrait  engravers,  of  whom  Nanteuil  is  the  greatest 
figure,  chiefly  followed  the  pure  style  of  line-engraving  used  by 
Pontius,  and  Vorsterman,  and  the  school  of  Rubens  in  general.  Jean 
Morin,  with  his  mixture  of  etching  and  engraving,  by  which  he 
achieves  great  subtlety  of  expression,  is  an  exception,  and  thoroughly 
individual  in  his  manner.  The  more  conventional  style  was  intro¬ 
duced  by  engravers  like  Michel  Lasne,  who  had  worked  in  his  earlier 
years  in  the  school  of  Rubens.  But  both  he  and  Claude  Mellan 
departed  from  the  closer  handling  of  most  of  the  Flemish  engravers 
in  favour  of  an  open  lineal  style  which  seems  to  have  originated  in 
8 


VAN  DYCK 

Cornelius  Cort,  and  was  practised  chiefly  by  Agostino  Carracci  and 
Franscesco  Villamena  in  Italy.  Mellan  probably  learnt  his  style 
from  Villamena  in  Rome  about  1624,  but  his  boldest  and  most 
characteristic  work  was  probably  done  after  his  return  to  Paris  where 
he  lived  till  the  age  of  ninety,  surviving  Nanteuil,  a  generation  his 
junior,  by  ten  years. 

In  Robert  Nanteuil  we  have  the  undisputed  head  of  the  French 
school  of  portrait  engraving.  His  fame  stands  on  the  most  solid  founda¬ 
tion.  We  can  well  believe  the  testimony  of  his  contemporaries  to  the 
excellence  of  his  plates,  which  to  a  large  extent  are  from  his  own 
drawings,  in  point  of  likeness.  At  his  best  his  work  possesses  a  noble 
directness  of  expression  and  a  complete  freedom  from  all  the  attractive 
mannerisms  by  which  a  spurious  reputation  is  so  easily  gained.  His 
early  work,  of  which  the  Louis  Hesselin  is  a  most  characteristic 
example  (xlviii),  is  in  the  open  manner  of  Claude  Mellan.  There 
is  no  cross-hatching,  and  the  variety  of  effect  is  largely  gained  by  the 
variation  of  thickness  of  lines  in  their  own  length.  It  is  a  peculiarly 
attrative  manner,  but  the  shading  in  curved  parallels  tends  to  be 
disconcerting  to  the  nervous  eye.  He  made  an  undoubted  advance 
in  the  adoption  of  his  later  manner,  in  which  the  strength  of  Pontius 
and  Vorsterman  is  combined  with  the  subtelty  of  Suyderhoef  and 
Soutman.  In  the  delicate  modelling  of  the  face  in  particular  he 
adopted  a  system  of  short  strokes,  carefully  and  closely  laid,  which 
came  to  form  the  most  distinct  element  in  the  French  school  of 
portrait.  It  is  remarkable  how  with  all  the  detail  of  his  method  he 
never  fails  to  give  his  portraits  intense  life  and  concentration.  If  we 
would  criticise  at  all  unfavourably  the  latest  development  of  his  work 
it  is  less  in  regard  to  portrait  than  to  his  composition  as  a  whole.  From 
about  1670  he  tended  to  disregard  the  architectural  plinth  which 
supported  the  oval  frame  of  most  of  his  plates  [e.g.  Simon  Arnauld  de 
Pomponne ,  xliv),  and  sometimes  spoils  the  balance  of  his  print  by  the 
undue  size  of  the  head  in  relation  to  the  space  to  be  filled. 

As  portrait  engraver  to  Louis  XIV,  of  whom  he  has  left  eleven 
prints,  nearly  all  the  personages  of  the  court  of  the  great  monarch 
appear  in  his  work,  which  amounts  in  all  to  some  234  numbers  (of 
which  216  are  portraits).  It  is  of  interest  in  the  history  of  engraving 
in  France  to  remember  that  it  was  at  his  solicitation  that  the  King 
passed  the  edict  of  St.  Jean-de-Luz,  elevating  engraving  from  the 
number  of  the  “Industrial  Arts”  to  the  rank  and  privileges  of  one 
of  the  “  Liberal  Arts.” 

Nanteuil’s  portrait  is  illustrated  here  in  an  engraving  by  Gerard 

9 


GREAT  ENGRAVERS 

Edelinck,  who  with  Masson  and  Nanteuil  makes  up  the  great 
triumvirate  of  French  portrait  engravers.  Edelinck  was  actually 
Antwerp  born,  but  like  so  many  other  Flemish  portrait  engravers 
(e.g.  Pieter  Van  Schuppen  and  Nicolas  Pitau,  the  elder),  found  his 
chief  encouragement  and  the  field  of  his  activity  in  France. 
Antoine  Masson  is  by  far  the  least  prolific  of  the  triumvirate,  but  in 
the  quality  of  his  work  he  is  the  more  serious  rival  of  Nanteuil’s 
fame.  He  started  life  as  an  armourer,  and  perhaps  never  completely 
escaped  a  certain  metallic  stiffness  in  the  handling  of  detail  {e.g.  the 
hair).  Plates  like  the  Guillaume  de  Brisacier  (lvi),  and  the  Henri 
d'  Harcourt,  both  after  Mignard,  are  as  brilliant  as  anything  of  Nanteuil, 
but  the  vigour  of  the  portrait  is  somewhat  lost  in  the  equality  of  the 
finish.  Absolutely  free  from  a  similar  reproach,  and  only  slightly 
removed  from  Nanteuil  at  his  strongest,  are  the  magnificent  prints  of 
Pierre  Dupuis  (lvii)  and  Olivier  Le  Fevre  d'Ormesson. 

Strong  work,  which  at  its  best  almost  reaches  the  level  of  the 
French  triumvirate,  was  being  done  at  the  same  time  in  England  by 
William  Faithorne.  Like  Nanteuil  he  started  as  a  follower  of  Mellan, 
and  his  Sir  Thomas  Fairfax  is  one  of  the  most  vigorous  plates  in  the 
open  lineal  manner.  The  Prince  Rupert  (lviii)  still  shows  something 
of  the  Mellanesque  style,  but  it  rather  suffers  through  its  mannerisms. 
One  would  have  appreciated  the  portrait  better  without  the  discon¬ 
certing  brilliance  of  the  scarves  and  curtain.  Lady  Castlemaine  and 
Lady  Paston  (lix  and  lx)  are  far  finer  achievements,  and  more 
comparable  with  Nanteuil’s  later  style  in  the  delicate  elaboration  of 
the  engraving.  They  are  all  the  more  attractive  from  the  comparative 
rarity  of  portraits  of  ladies  in  the  seventeenth  century.  It  is  a  curious 
fact  that  the  French  engravers  of  this  period  in  particular  produced  so 
few  female  portraits. 

The  beginning  of  the  end  of  the  best  French  portrait  engraving  is 
heralded  by  one  of  its  most  brilliant  technical  exponents,  Pierre 
Drevet,  and  almost  consummated  by  his  even  more  brilliant  son 
Pierre  Imbert  Drevet.  Many  of  the  father’s  portraits,  such  as  the 
Boileau-Despreaux  (lxiii),  preserve  great  strength  and  vigour  in  spite 
of  the  extreme  care  and  finish  expended  on  the  rendering  of  the 
various  tonic  values  of  details  of  dress  and  setting.  But  with  Pierre 
Imbert  Drevet  and  his  masterpiece,  the  J.  B.  Bossuet  (lxv),  one  feels 
that  the  real  concentration  and  vigour  that  should  belong  to  the 
portrait  are  lost  in  the  astounding  virtuosity  with  which  he  renders  the 
glister  of  silk,  the  softness  of  fur,  and  the  delicate  texture  of  the  surplice 
and  its  lace,  and  all  the  various  trappings  of  the  elaborate  setting. 

10 


VAN  DYCK 

The  development  of  an  exaggerated  fineness  of  technique  led 
logically  to  a  corresponding  reduction  in  the  size  of  the  plates  as  a 
whole,  and  this,  combined  with  the  growing  practice  of  illustration 
in  small  books,  led  to  the  eighteenth  century  school  of  miniature 
portrait  engravers,  of  which  Ficquet,  Savart,  and  Grateloup  were  the 
most  accomplished  masters.  With  them  the  art  of  portrait  engraving 
turned  back,  with  the  added  adornment  of  eighteenth  century  taste- 
ulness  in  small  things,  to  the  ground  which  had  been  trodden  by  the 
Wierixes  two  centuries  before. 


BOOKS  OF  REFERENCE 

Vertue,  G.  Description  of  the  Works  of  Hollar.  London  1759 
Granger,  J.  Bibliographical  History  of  England.  London  1769-74  (5th 
ed.  1824;  continuation  by  Mark  Noble  1S06) 

Bromley,  H.  Catalogue  of  Engraved  British  Portraits.  London  1793 
Barjsch,  Adam.  Le  Peintre-Graveur.  Vienna  1803-21 
Evans,  Edward.  Two  Catalogues.  London  n.d.  [about  1830,  and  1853] 
Robert-Dumesnil,  A.  P.  F.  Le  Peintre-Graveur  Franpais.  Paris  183 5— 
71  (the  standard  catalogue  for  most  of  the  French  portrait  engravers) 
Parthey,  G.  Wenzel  Hollar.  Verzeichniss  seiner  Kupferstiche.  Berlin 
1853  (supplement  by  F.  A.  Borovsky,  Prague  1898) 

Le  Blanc,  C.  Manuel  de  1’ Amateur  d’Estampes.  Paris  1834-89  (contains 
lists  of  a  very  large  number  of  engravers  not  in  Bartsch,  or  Robert- 
Dumesnil) 

Montaiglon,  A.  de.  Catalogue  Raisonne  de  l’oeuvre  de  Claude  Mellan. 
Abbeville  1856 

Wussin,  Johann.  Jonas  Suyderhoef.  Verzeichniss  seiner  Kupferstiche. 
Leipzig  1861 

Wessely,  J.  E.  Abraham  Blooteling.  Verzeichniss  seiner  Kupferstiche 
und  Schabkunstblatter.  Leipzig  1867 
Didot,  A.  Firmin.  Les  Graveurs  de  Portrait  en  France.  Catalogue  de 
la  collection  de  A.  F.  D.  Paris  1875-77 
Duplessis,  G.  La  Gravure  de  Portrait  en  France.  Paris  1875 
Wibiral,  F.  L’Iconographie  d’Antoine  Van  Dyck.  Leipzig  1877 
Dutuit,  Eugene.  Manuel  de  l’Amateur  d’Estampes.  Paris  1881-88 
(for  Van  Dyck,  and  other  Netherlandish  etchers) 

Someren,  J.  F.  van.  Catalogus  van  gegraveerde  Portretten  van  Neder- 
landers.  Amsterdam  1881-91 


GREAT  ENGRAVERS 

Fagan,  Louis.  Descriptive  Catalogue  of  the  engraved  works  of  William 
Faithorne.  London  1888 

Hymans,  Henri.  Lucas  Vorsterman.  Catalogue  Raisonne  de  son  oeuvre. 
Brussels  1893 

Paris,  Bibliotheque  Nationale.  G.  Duplessis,  Catalogue  de  la  Collection 
des  Portraits,  1896,  etc.  (in  progress) 

Moes,  E.  W.  Iconographia  Batava.  Amsterdam  1897,  1905 
Colvin,  (Sir)  Sidney.  Early  Engravers  and  Engraving  in  England  (1545- 
169:),  with  a  List  of  Works  of  Engravers  1545-1650  by  A.  M.  Hind. 
London  1905 

London,  British  Museum,  Dept,  of  Prints  and  Drawings.  F.  M. 
O’Donoghue,  Catalogue  of  Engraved  British  Portraits,  1908,  etc. 
(in  progress) 

Thomas,  T.  H.  French  Portrait  Engraving  of  the  XVIIth  and  XVIIIth 
Centuries.  London  1910 

Lemoisne,  P.  A.  La  gravure  de  portraits  en  France  des  origines  a  la  fin  du 
regne  de  Louis  XIV.  Paris  (in  preparation) 

Petitjean,  C.,  and  Wickert,  C.  Catalogue  raisonne  de  F oeuvre  de 
Robert  Nanteuil.  Paris  (in  preparation) 


I 


LIST  OF  PLATES 

The  following  are  the  chief  abbreviations  used  :  B.  = 
Bartsch,  Le  B.  =  Le  Blanc,  R.-D.  =  Robert-Dumesnil,  W.  = 
Wibiral  (see  Books  of  Reference) 


Sir  Anthony  Van  Dyck.  Original 
etchings 

Portrait  of  himself.  W.  4,  i.  Frontis¬ 
piece 

Jan  Brueghel,  the  elder.  1.  W.  1,1 
Pieter  Brueghel,  the  younger.  11. 
Original  chalk  drawing  for  the 
etching.  In  the  collection  of  the 
Duke  of  Devonshire ,  Chatsworth 
Pieter  Brueghel,  the  younger,  ill. 
W.  2,1 

Antonis  Cornelissen.  iv.  W.  3,1 
Desiderius  Erasmus,  after  Holbein, 
v.  W.  5,1 

Frans  Francken,  the  younger,  vi. 
W.  6,  11 

Jodocus  de  Momper.  vn.  W.  7,1 
Adam  van  Noort.  vm.  W.  8,11 
Paul  Pontius,  ix.  W.  9,  1 
Jan  Snellinx.  x.  W.  10,  1 
Frans  Snyders,  xi.  First  state.  W.  1 1,1 
Frans  Snyders,  xii.  Third  state. 
Finished  in  engraving  by  Jacob 
Neefs.  W.  1 1,  in 
Justus  Sustermans.  xm.  W.  12,  1 

Antoine  Triest,  Bishop  of  Ghent, 
xiv.  W.  1  3,  11 

Lucas  Vcrsterman.  xv.  W.  14,1 
Willem  de  Vos.  xvi.  W.  15,  1 
Paul  de  Vos.  xvn.  W.  16,  1 
Jan  de  Wael.  xvm.  W.  17,  1 

Jan  Waverius  (or  Van  den  Wouwer). 
xix.  Impression  touched  by  hand. 

W.  18,  11 


The  Reed  offered  to  Christ  [Le 
Christ  au  Roseau),  xx.  W.  p.  68, 

A.  1 

Titian  and  his  Daughter,  after 
Titian,  xxi.  W.  p.  69,  B.  1 
Philippe  Le  Roy.  xxn.  W.  p.  69, 
C.  1 

Rembrandt 

Jan  Cornelis  Sylvius,  xxm.  Original 
study  in  pen-and-ink  for  the  etching. 
British  Museum 

Jan  Cornelis  Sylvius,  xxiv.  Etching. 

B.  280 

Schelte  a  Bolswert.  Mary  Ruth- 
ven,  wife  of  Van  Dyck,  after  Van 
Dyck.  xxv.  From  the  Iconography. 
W.  101,1.  Line-engraving 
Paul  Pontius.  Peter  Paul  Rubens, 
after  Rubens.  xxvi.  Line-en¬ 
graving 
Jan  Muller. 

Isabella  Clara  Eugenia,  Archduchess 
of  Austria,  after  Rubens,  xxvii. 
B.  63.  Unfinished  proof 
Ditto,  xxviii.  Finished  state.  Line- 
engraving 
Jonas  Suyderhoef 
Augusta  Maria,  daughter  of  Charles  I, 
after  Honthorst.  xxix.  Wussin, 
7,  1.  Line-engraving 
Rene  Descartes.  xxx.  Wussin, 
23,  1.  Line-engraving 
Cornelis  Van  Dalen,  the  younger. 
Charles  II,  after  P.  Nason,  xxxi. 
Unfinished  proof.  Line-engraving 
Abraham  Blooteling.  Admiral 
Cornelis  Tromp,  after  Lely. 

J3 


GREAT  ENGRAVERS 

xxxii.  Wessely,  45.  Line-en¬ 
graving 

Jan  Lievens 

James  Gouter  (Gaultier),  Musician 
at  the  Court  of  Charles  I.  xxxm. 
Unfinished  state.  B.  59, 1.  Etching 

An  Ecclesiastic  seated  in  a  Chair, 
xxxiv.  B.  61.  Woodcut 

Wenzel  Hollar.  A  Young  Man 
playing  a  Lute.  xxxv.  Vertue, 
Class  vni.  No.  305.  Etching 

Carel  de  Moor.  Jan  van  Goyen, 
after  Terborch.  xxxvi.  Dutuit, 
Manuel  de  1’ Amateur,  11.  p.  189. 
Etching 

O.  Leoni 

Portrait  of  himself,  xxxvn.  B.  9. 
Engraving  in  the  dot  manner 

Portrait  of  the  Duke  of  Olivarez, 
xxxvm.  Pr.  Jahrbuch,  xxix,  165. 
Berlin.  Attributed  also  to  Velaxquez, 

Jean  Morin.  Cardinal  Bentivoglio, 
after  Van  Dyck,  xxxix.  R.-D. 
43.  Mixea  line-engraving  and 
etching 

Claude  Mellan.  Line-engravings 

Henri  Louis  Habert  de  Montmor. 
xl.  Montaiglon,  194 

Henriette  Marie  de  Buade-Fron- 
tenac,  wife  of  H.  L.  Habert  de 
Montmor.  xli.  M.  247 

Anne  of  Austria,  Queen  of  France. 
xlii.  M.  245 

Nicolas  Regnesson.  Marie  de 
Bourbon  Montpensier,  wife  of 
Gaston,  Due  d’Orleans.  xliii. 
Line-engraving 

Robert  Nanteuil.  Line-engravings 

14 


Simon  Arnauld  de  Pomponne.  xliv. 
R.-D.  24 

Pompone  de  Bellievre,  after  Charles 
Le  Brun.  xlv.  R.-D.  37,  1 

Marie  de  Bragelogne.  xlvi.  R.-D. 

57,  iv 

Christina,  Queen  of  Sweden,  after 
Sebastien  Bourdon,  xlvii.  R.-D. 
67,  hi 

Louis  Hesselin.  xlviii.  R.-D.  iio,i 
Louis  XIV.  xlix.  R.-D.  (vol.  xi) 
153,  I” 

Due  de  Richelieu,  after  Philippe  de 
Champaigne.  l.  R.-D.  218,  1 

Georges  de  Scudery.  li.  R.-D. 

221,  1 

Pieter  Van  Schuppen.  Dr.  Giuseppe 
Francesco  Borri,  after  Juriaen 
Ovens,  lii.  Le  B.  16.  Line- 
engraving 

Gerard  Edelinck.  Line-engravings 
Philippe  de  Champaigne,  after 
Champaigne.  liii.  R.-D.  164,  1 

Charles  Mouton,  Musician  to  Louis 
XIV,  after  Francois  de  Troy.  liv. 
R.-D.  281,  11 

Robert  Nanteuil.  lv.  R.-D.  282,  1 
Antoine  Masson.  Line-engravings 
Guillaume  de  Brisacier,  after  Nicolas 
Mignard.  lvi.  R.-D.  15,  1 

Pierre  Dupuis,  after  Nicolas  Mig¬ 
nard.  lvi  1.  R.-D.  25 

William  Faithorne.  Line-en¬ 
gravings 

Prince  Rupert,  lviii.  Fagan,  p.  13 

Barbara,  Lady  Castlemaine.  Lix. 
Fagan,  p.  27 


Lady  Paston.  lx.  Fagan,  p.  13 
Pierre Lombart.  Elizabeth, Countess 
of  Devonshire,  after  Van  Dyck. 
lxi.  Line-engraving 
David  Loggan.  Sir  Thomas  Isham. 

lxii.  Line-engraving 
Pierre  Drevet.  Line-engravings 
Nicolas  Boileau-Despreaux,  after 


VAN  DYCK 

Hyacinthe  Rigaud.  lxiii.  Le  B. 
26 

Francis  de  Troy,  after  De  Troy. 
lxiv.  Le  B.  1 1 3 

Pierre  Imbert  Drevet 
J.  B.  Bossuet,  after  Hyacinthe 
Rigaud.  lxv.  Le  B.  19,  1.  Line- 
engraving 


The  title-page  border  is  taken  from  Nanteuil’s  portrait  of  Queen  Christina 
of  Sweden  (xlvii) 

The  tail-piece  at  end  of  “  Books  of  Reference”  is  an  undescribed  print 
attributed  to  Nanteuil  in  the  Fitzwilliam  Museum,  Cambridge.  The 
arms  are  those  of  Jacques  de  Coigneux  (1686) 

The  tail-piece  that  follows  is  from  Christoffel  Jegher’s  large  woodcut  of 
the  “  Garden  of  Love  ”  after  Rubens  (Rooses,  836) 


I.  VAN  DYCK.  JAN  BRUEGHEL,  THE  ELDER.  W.  i,  i 

Painter  and  etcher  5  b.  1599;  d.  1641;  w.  in  Antwerp,  Italy, 
London 


HAi^  EV-SEO 


V.  D.  I 


II.  VAN  DYCK.  ORIGINAL  CHALK  DRAWING  FOR  THE 
ETCHING  OF  PIETER  BRUEGHEL.  THE  YOUNGER 
In  the  collection  of  the  Duke  of  Devonshire,  Chatsworth 


III.  VAN  DYCK.  PIETER  BRUEGHEL,  THE  YOUNGER.  W.  2, 


PETERVf  BRVGEL  P1CT0R. 

PETRVS  BREVGtL 

v  I 

UkwW  fakMiLJ&d _ _ 


jk 


urn 


IV.  VAN  DYCK.  ANTONIS  CORNELISSEN.  W. 


\  / 

^  V.  1/  rc  *11  it? 


ci- 1 /.‘■i 


V.  VAN  DYCK.  DESIDERIUS  ERASMUS,  AFTER  HOLBEIN. 

W.  5,  i 


VI.  VAN  DYCK.  FRANS  FRANCKEN,  THE  YOUNGER.  W.  6,  n 


VII.  VAN  DYCK.  JODOCUS  DE  MOMPER.  W.  7,  1 


VIII.  VAN  DYCK.  ADAM  VAN  NOORT.  W.  8, 


IX.  VAN  DYCK.  PAUL  PONTIUS.  W.  9,  1 


V.  D.  2 


X.  VAN  DYCK.  JAN  SNELLINX  W  io, 


XI.  VAN  DYCK.  FRANS  SNYDERS.  FIRST  STATE.  W. 


XII.  VAN  DYCK.  FRANS  SNYDERS 

Third  state.  Finished  in  engraving  by  Jacob  Neefs.  W.  1 1,  hi 


XIII.  VAN  DYCK.  JUSTUS  SUSTERMANS.  W  12,1 


XIV.  VAN  DYCK.  ANTOINE  TRIEST,  BISHOP  OF  GHENT. 
W.  13,  11 


mart 


XV.  VAN  DYCK.  LUCAS  VORSTERMAN.  W.  14, 


XVI.  VAN  DYCK.  WILLEM  DE  VOS.  W.  15,  1 


XVII.  VAN  DYCK.  PAUL  DE  VOS.  W.  16,  i 


V.  E.  3 


XVIII.  VAN  DYCK.  JAN  DE  WAEL.  W.  17, 


XIX.  VAN  DYCK.  JAN  WAVERIUS, 
Impression  touched  by  hand 


W.  1 8, 


XX.  VAN  DYCK.  THE  REED  OFFERED  TO  CHRIST.  W.  p.  68, 
A.  i 


XXI.  VAN  DYCK.  TITIAN  AND  HIS  DAUGHTER  (AFTER 
TITIAN;  W.  p.  69,  B.  i 


XXII.  VAN  DYCK.  PHILIPPE  LE  ROY.  W.  p.  69,  C.  1 


PHILLPPVS  LE  Rc?Y  EQVES 


XnfaAULf  i'A4  £)yrk 


XXIII.  REMBRANDT.  ORIGINAL  STUDY  IN  PEN-AND-INK  FOR 
THE  ETCHING  OF  JAN  CORNELIS  SYLVIUS 
Painter  and  etcher  ;  b.  Leyden.  1607  ;  d.  Amsterdam,  1669 


XXIV.  REMBRANDT.  JAN  CORNELIS  SYLVIUS. 


B.  280 


•umomn 


Ttrou 


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'Ja.fus  cra4r  Syfri  fuuj .  * luJi  v  i  m  oj  if fu  tn. 


•AtnJftfj  iff*  curiftu  ory  foyut 


Jffc  Ofr.yjjjjt'  •'ccw  fa  y  t Jit :  fiiednj  $ .  fey  err 


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S imji l 'm  fa  far  dm.inj 'Jit  cum  &nfamjfit  fonefti. 

Q/7c Jo  (&  7 vfu.it  ^ on  fa- ji  face  nd  fon  us . 

Sic  Jhifait.'SJcJiLm  rtfa  nuuory  doccn 
ffLcctisu  ct  n>»uu>t.Juf  tuna  Jijy  m  1  ,uur  • 
jfm/fafit.J^u  manor  exiindi  ■  uni  conjuht  urlrm. 

x.6(<n'tfiui ,  fui  no  in  jo-  JtuLu-t  i  /4-:zw. 

..  V  ■  C-A*rL„. 

'^}Cui<f  <t*njifuLj  Qj/ir&.fjo  iff  fa  Qgfaj , 


xfor.  fr, 


XXV.  SCHELTE  A  BOLSWERT.  MARY  RUTHVEN,  WIFE  OF 
VAN  DYCK,  AFTER  VAN  DYCK.  W.  ioi,  i 
Line-engraver  ;  b.  Bolswert,  ab.  1586  ;  d.  1659;  Wi  at  Amsterdam 
and  Antwerp 


V.  D.  4 


XXVI.  PAUL  PONTIUS.  PETER  PAUL  RUBENS,  AFTER  RUBENS 
Line-engraver  ;  b.  1603  ;  d.  1658  ;  w.  at  Antwerp 


XXVII.  JAN  MULLER.  ISABELLA  CLARA  EUGENIA,  ARCH¬ 
DUCHESS  OF  AUSTRIA,  AFTER  RUBENS.  B.  63. 
Unfinished  proof 

Line-engraver;  b.  1571  (?)  ;  d,  after  1625;  pupil  of  Hendrik 
Goltzius ;  w.  at  Amsterdam 


XXVIII.  JAN  MULLER.  ISABELLA  CLARA  EUGENIA,  ARCH¬ 
DUCHESS  OF  AUSTRIA,  AFTER  RUBENS.  B.  63. 
Finished  state 


XXIX.  JONAS  SUYDERHOEF.  AUGUSTA  MARIA,  DAUGHTER 
OF  CHARLES  I,  AFTER  HONTHORST.  Wussin,  7,  1 
Line-engraver  ;  b.  ab.  1610  ;  d.  1686  ;  pupil  of  Pieter  Soutman  ; 
w.  at  Haarlem  ;  the  finest  contemporary  interpreter  of  Frans 
Hals 


XXX.  JONAS  SUYDERHOEF.  RENE  DESCARTES.  Wussin,  23,  1 


XXXI.  CORNELIS  VAN  DALEN,  THE  YOUNGER.  CHARLES  II, 
AFTER  P.  NASON.  Unfinished  proof 

Line-engraver  ;  b.  1642  ;  d.  1665  (?)  ;  w.  at  Amsterdam  ;  his  father 
Cornells  van  Dalen,  the  Elder,  worked  in  England  between  1632 
and  1638,  but  in  spite  of  the  subject  of  the  engraving  reproduced, 
it  is  doubtful  whether  Van  Dalen,  the  Younger,  ever  visited  England. 
There  are  several  other  unfinished  proofs  of  the  present  en¬ 
graving  in  the  British  Museum 


.  y-- 


XXXII.  ABRAHAM  BLOOTELING.  CORNELIS  TROMP,  AFTER 
LELY 

Engraver  in  line  and  mezzotint,  and  etcher  ;  b.  1640  ;  d.  1690  ; 
tv.  in  Amsterdam,  and  England  (1672-76)  ;  a  pupil  of  Van  Dalen, 
the  Younger,  in  line-engraving  ;  one  of  the  best  of  the  early  mezzo¬ 
tint  engravers,  doing  many  fine  plates  after  Lely 


P»!’? 


XXXIII.  JAN  LIE  YENS.  JAMES  GOUTER  (GAULTIER),  MUSICIAN 
AT  THE  COURT  OF  CHARLES  I.  B.  59,  1.  Unfinished 
state 

Etcher  ;  b.  1607  ;  d.  1674  !  w-  in  Leyden,  Amsterdam,  England, 
Antwerp,  The  Hague  ;  influenced  by  Rembrandt  in  his  early 
work,  and  later  by  Van  Dyck 


V.  D.  5 


XXXIV.  JAN  LIE  YENS.  AN  ECCLESIASTIC  SEATED  IN  A  CHAIR. 
B.  6 1.  Woodcut 


XXXV.  WENZEL  HOLLAR.  A  YOUNG  MAN  PLAYING  A  LUTE. 
Vertue,  Class  VIII,  No.  305 

Etcher  ;  b.  1607  ;  d.  1677  ;  w.  in  Prague,  Frankfort,  Cologne, 
London,  Antwerp,  Algiers  ;  a  pupil  of  Matthaus  Merian,  the  Elder, 
in  Frankfort  ;  spent  most  of  his  life  in  England  ;  one  of  the  most 
interesting,  accomplished,  and  prolific  etchers  of  topography  and 
costume  ;  the  master  of  a  most  delicate  technique 


XXXVI.  CAREL  DE  MOOR.  JAN  VAN  GOYEN,  AFTER  TERBORCH 
Etcher  and  mezzotint  engraver;  b.  1656;  d.  1738;  a  pupil  of 
Gerard  Dou  ;  w.  at  Leyden  ;  produced  only  a  few  plates 


XXXVIII.  OTTAVIO  LEONI.  PORTRAIT  OF  THE  DUKE  OF 
OLIVAREZ.  Attributed  also  to  Velasquez 

XXXVII.  OTTAVIO  LEONI.  PORTRAIT  OF  HIMSELF.  B.  9 

Engraver;  b.  ab.  1576;  d.  after  1628;  his  individual  method 
of  shading  with  dots  is  an  interesting  anticipation  of  the  stipple 
process  of  the  eighteenth  century 


XXXVII  XXXVIII 


XXXIX.  JEAN  MORIN.  CARDINAL  BENTIVOGLIO,  AFTER 
VAN  DYCK.  R.-D.  43 

Engraver  ;  b.  before  1590  (?)  ;  d.  1650  ;  w.  at  Paris  ;  his  portraits 
are  remarkable  for  their  individual  manner,  a  subtle  combination 
of  line-engraving  and  etching 


B E  NT1V0LVS 


XL.  CLAUDE  MELLAN.  HEXRI  LOUIS  ELXBERT  DE  MOXTAIOP. 
M-  *9+ 

Line-engraver;  b.  159S  ;  d.  1688  ;  w.  at  Abbeville,  and  Paris;  his 
style  is  characterised  by  strong  open  lines,  swelling,  and  diminishing 
in  breadth,  with  little  use  of  cross-hatching 


XL I.  CLAUDE  MELLAN.  HENRIETTE  MARIE  DE  BUADE- 
FRONTENAC,  WIFE  OF  H.  L.  HABERT  DE  MONTMOR. 
M.  247 


XLII.  CLAUDE  MELLAN.  ANNE  OF  AUSTRIA,  QUEEN  OF 
FRANCE.  M.  245 


V.  D.  6 


XLIII.  NICOLAS  REGNESSON.  MARIE  DE  BOURBON  MONT- 
PENSIER,  WIFE  OF  GASTON  DUC  D’ORLEANS 
Line-engraver  ;  b.  1630  (or  about  1620  ?)  ;  d.  1670  ;  w.  at  Rheims, 
and  Paris ;  best  known  as  Nanteuil’s  first  master  in  engraving 


XLIV.  ROBERT  NANTEUIL.  SIMON  ARNAULD  DE  POMPONNE. 
R.-D.  24 

Line-engraver  ;  b.  1623  (or  1625  ?)  ;  d.  1678  ;  w.  at  Rheims 
and  Paris  ;  pupil  of  Nicolas  Regnesson  at  Rheims  and  Abraham 
Bosse  in  Paris ;  the  greatest  of  the  French  engravers  of  portrait 


XLV.  ROBERT  NANTEUIL.  POMPONE  DE  BELLIEVRE,  AFTER 
LE  BRUN.  R.-D.  37,  1 


XLVII.  ROBERT  NANTEUIL.  CHRISTINA,  QUEEN  OF  SWEDEN, 
AFTER  SEBASTIEN  BOURDON.  R.-D.  67,  III 


XL VIII.  ROBERT  NANTEUIL.  LOUIS  HESSELIN  Il.-D  no,  j 


XLIX.  ROBERT  NANTEUIL.  LOUIS  XIV.  R -D.  (vol.xi)  153, 


hi 


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L.  ROBERT  NANTEUIL.  DUC  DE  RICHELIEU,  AFTER  PHILIPPE 
DE  CHAMPAIGNE.  R.-D.  218,  i 


V.  D.  7 


LI.  ROBERT  NANTEUIL.  GEORGES  DE  SCUDERY.  R.-D.  221, 1 


LII.  PIETER  VAN  SCHUPPEN.  D''  GIUSEPPE  FRANCESCO  BORRI, 
AFTER  OVENS.  Le  B.  1 6 

Line-engraver;  b.  1623  (or  1627  ?)  ;  d.  1702  ;  w.  at  Antwerp,  and 
Paris 


■NiiC 


LIII.  GERARD  EDELINCK.  PHILIPPE  DE  CHAMPAIGNE,  AFTER 
CHAMPAIGNE.  R.-D.  164,  1 

Line-engraver  ;  b.  1640  (or  1641  ?)  ;  d.  1707  ;  pupil  of  Cornelis 
Galle  in  Antwerp,  and  of  Francois  de  Poilly  after  his  removal  to 
Paris  in  1665 


LIV.  GERARD  EDELINCK.  CHARLES  MOUTON,  MUSICIAN  TO 
LOUIS  XIV,  AFTER  FRANCOIS  DE  TROY.  R.-D.  281 , 11 

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LVI.  ANTOINE  MASSON.  GUILLAUME  DE  BRISACIER,  AFTER 
MIGNARD.  R.-D.  15,  1 

Line-engraver;  b.  Louxy,  1636;  d.  1700;  w.  at  Paris 


LVII.  ANTOINE  MASSON.  PIERRE  DUPUIS,  AFTER  MIGNARD. 
R.-D.  25 


V  D.  8 


LIX.  WILLIAM  FAITHORNE.  BARBARA,  LADY  CASTLEMAINE . 

Fagan,  p.  27 


LX.  WILLIAM  FAITHORNE.  LADY  PASTOX.  Fagan,  p.  13 


LXI.  PIERRE  LOMBART.  ELIZABETH,  COUNTESS  OF  DEVON¬ 
SHIRE,  AFTER  VAN  DYCK 

Line-engraver;  w.  ab.  1648-1681,  in  London,  and  Paris;  uncertain 
whether  of  Flemish  or  French  extraction.  The  present  engraving 
is  one  of  a  series  of  ten  countesses  and  two  earls  after  Van  Dyck.  One 
of  Lombart’s  best-known  prints  is  an  equestrian  portrait  of  Oliver 
Cromwell,  which  shared  the  viccisitudes  of  the  Commonwealth  and 
Restoration,  and  appears  in  certain  of  its  states  as  Charles  I 


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LXII.  DAVID  LOGGAN.  SIR  THOMAS  ISHAM 

Line-engraver ;  b.  Danzig ;  w.  ab.  1658-1690,  in  London,  and 
Oxford  ;  the  most  interesting  part  of  his  work  is  contained  in 
Oxonia  Illustrata  (1675),  and  Cantabrigia  Illustrata  (1690),  two 
series  of  architectural  prints  illustrating  Oxford  and  Cambridge 
colleges 


LXIH.  PIERRE  DREVET.  NICOLAS  BOILEAU-DESPREAUX, 
AFTER  RIGAUD.  Lc  B.  26 

Line-engraver  ;  b.  1663  ;  d.  1738  ;  w.  at  Lyons,  and  Paris  ;  Pierre 
and  his  son,  Pierre  Imbert  Drevet,  are  among  the  most  technically 
accomplished  of  the  French  portrait  engravers,  but  their  work 
shows  a  considerable  decline  in  strength  and  concentration  from  the 
style  of  Nanteuil 


